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“The festival of Makar Sankranti traditionally coincides with the beginning of the Sun’s northward journey (the Uttarayan) when it enters the sign of Makar (the Capricorn). It falls on the 14th of January every year according to the Solar Calendar. This day has a very special significance because the day and night on Makar Sankranti are exactly of equal hours. It is celebrated as a festival right from the times of the Aryans and is looked upon as the most auspicious day by the Hindus,” according to PK Das’ ‘Hindu Feasts And Festivals: Makar Sankranti’.

Madhes is a legendary land of fairs and festivals. There is a festival which falls every month of the year. Most of these festivals are related to gods and goddesses. Makar Sankranti is a unique festival because it is not associated with any god and goddess. It is not even related to a local deity. But it is somewhat related to the sun god visible all over the world. It is celebrated on the first day of the month of Magh according to the Bikram era. It falls in the winter season in which the earth reaches the southernmost point and starts returning to the northern hemisphere. The people of Madhes celebrate it for bright, beautiful and sunny days because there is a shivering cold at that time of the year. So they worship the sun god after immersing themselves in a water body. People dare to dive into the cold water of any river and pond and pool for a ceremonial bath. Bath is compulsory on this occasion for purification of body and mind. So they go to the confluence of rivers for a sacred bath. 

Either they go to the Kankai river which is popularly known as Maibeni Mela or Narayanghat where three rivers like Narayani, Seti and Gandaki meet. There they take a customary dip in the river to purify themselves. 

Days get warmer and warmer from this auspicious day. A great poet of English literature, PB Shelly is quite right when he says, “If winter comes, can spring be far behind?” So, people are hopeful of winter coming to an end soon. Lazy people also feel enthusiastic, spirited and strong on this day. The message of the Makar Sankranti is to enliven and encourage the lazy and lethargic souls. After taking a bath in a nearby river, they pray to the sun for better health and after coming back home they also seek blessings from elders.

After taking bath early in the morning, people of Mithila eat Khichadi (a mixture of rice and lentils) with pure ghee which is available in their sweet homes. They eat delicious dishes to beat this shivering cold of Magh.

This festival is called ‘Tila Sankranti’ in the Maithili speaking area and Khichadi in the Bhojpuri-speaking area. This festival represents Makar (Capricorn), the tenth sign of the Zodiac. Thus according to the Hindu scriptures the first day of Magh is observed as Makar Sankranti. The month of Magh is considered as a merrymaking month. The month of Poush is considered inauspicious whereas Magh is considered auspicious. Some religious people start bathing the whole month early in the morning, though it is very cold in the morning hours. Even idle and sick people take bath on the auspicious occasion of Maghe Sankranti. It has been articulated astrologically and astronomically that on this day the sun, the only visible god, is the farthest from the earth. So days become longer, better and warmer from this day. The people of Madhes celebrate Maghe Sankranti on the first day of Magh. It is worthy to note that Madhesi culture is very rich and renowned. 

Various fairs and festivals are the demonstrators of this richness, bathing rituals and processions take place at various religious places such as Janakpurdham, Dhanushadham and Jaleshwardham. Women throng these pious places and worship Lord Mahadev, the god of gods. They prefer to take bath on the confluence (Sangam) of at least two or more rivers because it is considered sacred. The people of Madhes rush toward rivers and rivulets and take a ceremonial bath to purify themselves. After taking the holy dips, they prepare several sweet recipes such as Mudhi and Lai made of molasses.They also prepare Khichadi—a mixture of rice, vegetables and lentils. So this festival is also called Khichadi in some places of Tarai-Madhes.

Tharu people also celebrate Maghi for three consecutive days. They eat special and decent dishes on this occasion. They sacrifice he-goats, chickens, pigeons and buffaloes. They celebrate their greatest festival by singing and dancing. They call it Maghi in their native language, celebrating it as the beginning of their new fiscal year whereas the people of Mithila celebrate it for one day only. 

Non-vegetarian people eat several kinds of dishes of meat according to their choices. Vegetarian people eat sweet potatoes and eat ladoos made by mixing Tila and molasses. This is a very healthy food item as it produces energy and heat in the human body. They also eat Dahi (curd) and Chiuda (beaten rice) and sugar. Khichadi with ghee is also considered a very nutritious food. People prefer to eat this type of food on this occasion. They also invite their married daughters and their husbands’ in-laws and other close relatives for family feasts. 

This festival gives enough opportunity for socialization. It is a perfectly cultural and social festival of the Hindu people who constitute a majority in Madhes. This is a great occasion for the grand gathering of this community for exchanging greetings and well-wishes. The main motto of this festival is peace, fraternity and unity in the society. This festival helps in creating an amicable atmosphere of social harmonization.

Makar Sankranti is an important festival that falls in mid-January. It is preceded by Lohri (bonfire) into which is thrown harvest produce like sugarcane stalks, parched rice and sesame seeds. On the day of Sankranti, Khichadi (mishmash of rice, lentils and vegetables) is prepared and given in charity. Sankranti, signifying light, also gives the message of intellectual illumination. It is the Viveka (discriminatory wisdom) to choose between the right and wrong that is believed to lead man on the path of happiness, Utpal K Banarjee fittingly states in his book titled ‘Hindu Joy of Life’.

Nepal and China have reaffirmed their commitment to the Belt and Road Initiative (BRI), highlighting the framework agreement signed during Prime Minister KP Sharma Oli’s visit to China in December last year. This development has been described as a milestone in enhancing bilateral ties.

In a political document presented to the Central Committee of his party, CPN-UML, Oli emphasized the significance of the agreement for Nepal-China relations. While the ruling coalition’s Nepali Congress (NC) has remained silent on the matter, China has actively engaged with Nepal’s political leadership to implement the agreement. Both Nepal’s Ambassador to China, Krishna Prasad Oli, and Chinese Ambassador to Nepal, Chen Song, have expressed optimism about the initiative, using strikingly similar rhetoric on its potential benefits.

A new era of cooperation

Ambassador Oli noted that the framework agreement marks a turning point in bilateral cooperation under the BRI, nearly seven years after the initial memorandum of understanding. He stated that projects under the BRI would help transform Nepal from a landlocked to a land-linked nation. Citing examples, he mentioned plans to enhance the operational capacity of Bhairahawa and Pokhara international airports.

A centerpiece of this cooperation is the proposed cross-border railway between Nepal and China, part of the Trans-Himalayan Multi-Dimensional Connectivity Network. This ambitious project is envisioned to facilitate the flow of goods, people and services, further deepening Nepal-China ties.

Ambassador Oli dismissed concerns over a so-called ‘debt trap’ linked to Chinese financing, calling such claims baseless. In an interview with The Global Times, he underscored the BRI’s global success, noting its partnerships with over 150 countries in its decade-long history.

Progress on infrastructure

Feasibility studies for the cross-border railway are underway and expected to conclude by 2026. Upon completion, the project will enter the implementation phase. Additionally, efforts are being made to strengthen Nepal’s transmission grid lines, which are critical for enhancing regional connectivity.

Ambassador Oli also expressed Nepal’s support for China’s Global Development Initiative and Global Civilization Initiative, reflecting broader alignment with Beijing’s strategic priorities.

According to Chinese official media outlets, Ambassador has said that Nepal supports the initiatives launched by China which were not mentioned in the bilateral documents.

In a meeting with Yang Wanming, President of the Chinese People’s Association for Friendship with Foreign Countries, according to The Global Times, Oli stated that Nepal supports the Global Development initiative and Global Civilization initiative proposed by China.  

China’s perspective

Chinese Ambassador Chen Song echoed the sentiments of deepening mutual trust and cooperation.

In an interview with The Global Times, he described the BRI framework agreement as a symbol of growing political and economic ties between the two nations.

According to Chen, the agreement will not only enhance bilateral relations but also contribute to regional stability and development by fostering collaboration between China and South Asian countries.

Chen highlighted the BRI’s role in strengthening people-to-people exchanges and cultural cooperation, particularly in the tourism sector, according to The Global Times.

Addressing debt-trap concerns

Ambassador Chen countered accusations of a ‘debt trap’, citing data from Nepal’s Public Debt Management Office. As of the 2023-24 fiscal year, Nepal’s external debt stood at Rs 1.25trn ($9.12bn). Of this, multilateral loans constituted 88.98 percent, while bilateral loans made up only 11.02 percent. Among bilateral creditors, Japan and India ranked first and second, with China accounting for a modest 2.82 percent of Nepal’s total external debt.

Chen criticized Western narratives about Chinese loans as attempts to discredit China’s partnerships with developing nations. He emphasized China’s commitment to offering low-interest loans, development assistance and investments tailored to Nepal’s needs.

Political dynamics

Domestically, the ruling UML has showcased the BRI framework agreement as a major achievement of Prime Minister Oli’s government. However, the NC has largely remained noncommittal, while the main opposition CPN (Maoist Center) has downplayed the agreement, seemingly to avoid crediting the Oli administration.

Meanwhile, China has intensified its engagement in Nepal, lobbying for further progress under the BRI framework. This proactive approach underscores Beijing’s strategic interest in Nepal as a critical partner in its broader Belt and Road vision.

“I’m in love with Kathak,” said dancer Subima Shrestha, who began teaching the dance form at Nritya Aangan in 2009. Kathak, rooted in Sanskrit, is derived from the phrase, ‘Katha Kahe so Kathak Kehelawe’ in Hindi, which translates to ‘the one who tells a story is a Kathak.’ It’s one of the simplest forms of storytelling, historically performed by communities like the Banjara in Northern India, who were believed to belong to a caste of storytellers. These performers narrated tales across different regions, embedding cultural and spiritual narratives in their art.

Shrestha explains that Kathak evolved as a medium of devotion, recounting mythological tales of deities like Ram and Sita. Over time, during the Mughal era, it became an expression of aestheticism, with its graceful movements transitioning into a form of courtly entertainment. However, under British rule, Kathak was suppressed and nearly vanished from practice.

After independence, Kathak had a resurgence. Shrestha recalls learning about Kathak’s rich history which, she says, deepened her respect and love for the dance form. “Kathak isn’t just a dance form for me. There’s a love there I can’t describe,” she says.

She was a teenager when she joined a Kathak class at Padma Kanya Campus in Kathmandu, Nepal. Though her memories of her initial experiences are hazy, she vividly remembers meeting her teacher, Guru Honey Shrestha, who became a significant influence. He not only nurtured her talent but also encouraged her to pursue professional dance education in India, which was a turning point in her Kathak journey.

During her early years as a student in India, she also taught Kathak as a private tutor to support herself. Reflecting on her time there, Subima observes a stark difference in the foundational understanding of Kathak between India and Nepal. “The basic level we learn here in Nepal is already inherent knowledge for most students in India,” she says. To illustrate, she offers a culinary analogy: “Just as Nepalis are experts in making diverse varieties of momo, Indians have a deeper understanding of Kathak.”

She also admires the discipline and ideology that she found more prevalent in India, essential traits for mastering Kathak. “The most important aspect is to feel and give your best through your heart and body and to live with it,” she says. This philosophy, she adds, is the cornerstone of not just learning Kathak but embodying it as a way of life.

Recalling her first performance before formally joining a Kathak class, Shrestha shares a cherished memory of dancing on the show ‘Pratibha Ko Dabali’. The program, which aired on Nepal Television in 1989 showcasing a variety of talents, had been a dream platform for her.

She recollects how her parents had signed her up for the performance, celebrating her passion for dance. “They even had my costume ready,” she says, still amazed at how everything fell into place, though she had no idea where the outfit came from. That moment—her debut performance—remains one of her happiest memories. It’s a vivid reminder of the joy and encouragement she received from her family.

Traditionally, Kathak is a storytelling dance form centered on divine tales, but Shrestha had difficulties envisioning the gods while following the steps her guru taught her. Initially, this made it difficult for her to connect deeply with Kathak. But soon she began to reinterpret Kathak in her own unique way, focusing on human stories and real-life issues. “I still find it hard to imagine gods while dancing. I have to force myself to do it where necessary,” she admits.

But Kathak is a competitive space. Your biggest competition is you, says Shrestha. The dance form demands a lot of physical, mental, and emotional involvement. “One thing you should never do, as a dancer and otherwise, is compare yourself and your progress with others.”

Kathak, she says, has reshaped how she thinks of herself and views the world around her. “Engaging in any form of art—whether drawing, singing, or any other creative expression—is essential because art has always been an integral part of our lives. It’s not just a choice but a fundamental right, enriching our existence and fostering self-expression. Everyone should embrace some form of art for a meaningful and fulfilling life,” she says. 

Reflecting on her past, she admits that she feels a sense of sadness and guilt. “If I could go back, I would have practiced more,” she says. She recognizes there is still a lot of room for growth and improvement. Looking ahead, she has a clear vision of where she wants to be and is actively working towards it, though there is a fair bit of worry and doubt of whether she is approaching things the right way. 

Despite having regrets of missed opportunities in the past, she embraces her journey with hope and resolve. With a clear vision for the future, she remains committed to her growth, navigating challenges with determination and an unwavering belief in her potential.

If I see a book of short stories by an author I haven’t read, I will definitely buy it. I won’t even have to read the blurb to decide. I just know I will enjoy it. And I’ve hardly ever been wrong. Even if I don’t like all the stories in a particular collection, I will enjoy a few and that will be enough for me to recommend the book to others. The same goes for my recent read ‘Dead-End Memories’ by Banana Yoshimoto. The book has five stories and I more or less like them all. 

Translated from the Japanese by Asa Yoneda, the writing was refreshing. Perhaps it was because I had never read both the author and the translator before. But I enjoyed every bit of it. The stories were beautiful and nostalgic. I could see me and my friends in the characters. All the stories are about women who, after some painful events in their lives, find comfort in small moments of everyday life. 

I was intrigued by the author’s name and I found out that Banana Yoshimoto is the pen name of the author Mahoko Yoshimoto whose father is a famous poet in Japan. She is the prize winning and internationally bestselling author of many works of fiction like ‘Kitchen’, ‘Asleep’ and ‘The Premonition’. In Dead-End Memories, Yoshimoto delves into the lives of women who are grappling with some sort of a transition in their lives. There’s a melancholic undertone to the stories but there’s a fair bit of drama too to keep things interesting. 

The women in the stories discover their strengths and weaknesses through varied experiences in their lives. A woman’s romantic life is shaped by the ghosts of a couple who live in the house of her lover. A hard-working editor has a near death experience that completely changes the course of her life—She’s poisoned at work and that changes her relationship with work and her co-workers. Though the stories involve romance, they aren’t centered on it. There’s also a recurring theme of food in the stories despite the stories never overlapping. It made me realize how much of our memories are shaped by the smell and taste of what we eat. 

Despite being short, I found myself taking time with the book as the themes are heavy, calling for a lot of reflection. They deal with abuse, rape, betrayals, and the end of a marriage. What I like about storytelling in shorter formats is that it leaves a lot of room for imagination and introspection. You can draw up your own conclusions and get many opportunities to question your own beliefs. Dead-End Memories is controlled storytelling. Yoshimoto doesn’t beat around the bush and gives you just the information you need to think about the story and their possible path or outcomes yourself. Some call her writing simple and superficial but I found it to be relatable and fun. I highly recommend this anthology. Read it, weep, smile, and think about some things and memories you have maybe long forgotten. 

Dead-End Memories

Banana Yoshimoto

Translated by Asa Yoneda

Published: 2024

Publisher: Faber & Faber Ltd.

Pages: 221, Paperback